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Haydn’s The Creation and Beethoven’s The Creatures of Prometheus

Joseph Haydn and Ludwig van Beethoven are Viennese classics of the 18th century, whose divine music has been played for more than two centuries.

Overture by Ludwig van Beethoven The Creatures of Prometheus opens a series of overtures of the composer’s works. Overture was meant for the ballet, about which we know nothing except for the plot, name of the choreographer, and information about productions. Choreographer and author of the libretto was a talented and successful Salvatore Vigano, who was first brought by Beethoven to the stage of musical theater.

The music of the Overture is a classical complete sample of sonata form with a slow introduction, permeated with theatrical brilliance and the life-giving Apollonian spirit, which is so characteristic of Beethoven’s works to the 1802-1803. In many ways it echoes with the First Symphony of Beethoven, written in the same key and the mood, and the harmonies of a start of slow entry, and the type of presentation of the main and side games. Both of these topics, one is fast, staccato, and the other is a coquettish-graceful, send us to the last part of the ballet music from which they were borrowed. Characteristically, their development is moved from the laconic interpretation into the code, which bears the character of the jubilant, orgiastic dance and is the culmination of the whole overture and its brilliant conclusion.

The subject and text of The Creation by Joseph Haydn was chosen while the composer was in London. In 1796, Haydn began his work on the oratorio. It was the first church choral work by Haydn, in which he used the German instead of Latin. The plot is very simple. The first two parts of The Creation tell about the world creation by the will of God. The third and last parts tell about paradise of Adam and Eve before the fall.

Both composers show deep genius in their very effective ways of displaying complex themes through their musical works. The concept of creation is mutual to both works. Haydn’s connection to the concept is evident through his entire composition. It was fitting for Haydn to choose oratorio to represent the concept, which is the biblical analog to opera. The opening pitch and dynamic of the composition are equal. The overture is introduced in fortissimo without power. The possible reason for such a slow pace was to make it difficult for the listener to adjust a steady pulse. When these initial bars of music are completed, the listener is given a roaming fragment. The normal set of tonality is ignored by Haydn. It is quite interesting that the composition ends in an unusual way, on C minor. That was an avant garde practice created earlier by Mozart.

Joseph Haydn and Ludwig van Beethoven are Viennese classics of the 18th century, whose divine music has been played for more than two centuries.

Overture by Ludwig van Beethoven The Creatures of Prometheus opens a series of overtures of the composer’s works.

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100001272
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CREATED ON
August 26, 2016
COMPLETED ON
August 27, 2016
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$36
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